As a professional pianist, I know what it takes to achieve the highest level of skill. My curriculum focuses not on what the child has to learn in the next three months or three years, but rather on a much larger goal: What will this child need to learn today that will enhance their experience in ten years? How much information can this child absorb regardless of how long they are part of this studio? With this in mind, the journey begins not only with the basic piano skills needed by every beginner such as learning finger numbers, note names and rhythms, but also with the formulation of skills needed ten years down the line that will enable the student to approach the most difficult repertoire. It is not enough to wait until you need to play fast scales to learn how to play fast scales. We have to lay the groundwork early to develop the highest level of playing skills. One aspects of this studio which stands out: Transposition. The goal of transposition is to transfer the motivation of brain impulses to the fingers from the eyes to the ears. Most instrumental teaching focuses on teaching the eyes guide the fingers. Traditional ear training focuses on learning intervals. While intervallic knowledge is necessary for all musicians, there is a gap between knowing this material and integrating it into one's playing. Transposition bridges this gap. Beginning students learn to play pieces in one or two different five-finger patterns. The task becomes much more difficult when transposing a Bach invention or a Rachmaninoff prelude to 12 different keys. My method of introducing transposition eases the students into the skill at achievable levels, taking small steps, eventually leading through the 12 keys, building a skill to a level that many pianists find daunting. Students integrate listening to their playing through transposition. The end result is what I term, “three-dimensional listening.” This is the difference between being a passive listener, one who listens to their playing like and audience, watching their fingers move about the keyboard and hearing the result, and the aggressive listener who can hear what is to be played before it happens with the fingers responding according to an aural impetus. The latter will be the freer, more musical, more solid and secure performer.